Beyoncé’s and The Chicks’ performance at the 2016 Country Music Awards Show sparked unprecedented backlash on digital media spaces. For some viewers, the performance challenged the perceived boundaries of country music as fundamentally wrapped up in white identity. Consequently, white fans’ digital dialogue surrounding the performance attempted to maintain country music’s whiteness through surveillant rhetorical tactics. In this chapter, Hutten develops a theory of genre surveillance to describe how the boundaries of country music are policed not only by significant country music institutions but by a faction of country music fans. Hutten situates Beyoncé’s and The Chicks’ performance, and the digital reactions to it, within the history and politics of country music’s sonic color line. Additionally, Hutten mobilizes Browne’s (2015) theory of dark sousveillance to demonstrate how the performance functions as an act of musical resistance.